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By Cristina F. Rosa

Brazilian our bodies, and their Choreographies of id retraces the presence of a specific manner of swaying the physique that, in Brazil, is usually often called ginga . Cristina Rosa its presence throughout unique and particular nation-states: samba-de-roda (samba-in-a-circle) dances, capoeira angola video games, and the repertoire of Grupo Corpo.

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Extra info for Brazilian Bodies and Their Choreographies of Identification: Swing Nation

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The heart beating, breathing, singing, hand clapping, or hip shaking) and external factors (music, room temperature, or other moving bodies). More importantly, as dancers and players who are familiar with or exposed to the ginga aesthetic’s principles and procedures experiment with different ways of transferring the weight of their own bodies up and down, or from side to side, they might move isolated parts of their polycentric body in and out of sync with the pace established by the footwork, thus producing movement of bodily syncopation.

By extension, the polycentric and polyrhythmic body alludes to the fragmentation of the body into multiple centers capable of articulating more than one rhythm simultaneously. With this infrastructure in place, dislocation in time and space may lead to two sets of variables, which I have grouped as: (a) call-and-response and apartness in movement; and (b) serpentine pathways and high-affect juxtapositions. When discussing practices such as samba and capoeira, call-and-response refers to dialogical conversations instantiated, back-and-forth, between body parts, between two or more dancers, between dancers and musicians, or between performers and the audience.

In other words, one could say that the decentralization, flexibility, reversibility, improvisation, and continuous flow that the middleware’s architecture offers its clients and servers working within the medium of digital TVs in Brazil finds resonance with (or mimics) the way in which capoeira players structure their bodies to dialogue with their partners, swaying their upper torso and hips to evade a blow or transforming an escape into an indirect attack. ” This analogy makes sense. In the lineage of capoeira known as capoeira angola, for example, the multi-metered pace with which players rock their bodies back and forth, and the multi-linear pathways they construct as they tumble across the floor, alternating the use of feet, hands, and head to support their bodily weight, prepare them to shift directions and intentions seamlessly and with a sense of coolness.

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